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ARTISTS FLED TO US ESCAPING EUROPEAN DICTATORSHIPS Hans Hofmann (Weißenburg in Bayern, 1880 – New York, 1966) Moved permanently in US in 1932. he taught in Berkely, New York, Princeton Still Life—Yellow Table on Green, 1936 Oil on panel Dallas Museum of Art. ARTISTS FLED TO US ESCAPING EUROPEAN DICTATORSHIPS Hans Hofmann The Wind, 1942 Oil, duco, gouache and India ink on board University of California, Berkeley Art Museum & Paciﬁc Film Archive. ARTISTS FLED TO US ESCAPING EUROPEAN DICTATORSHIPS Joseph Albers joined the Bauhaus design school at Weimar, under Walter Gropius, where he became a teacher. Following the school's closure by the Nazis in 1933, he emigrated to America, where he taught first at the Black Mountain College in North Carolina (1933-49) and then at Yale, where he was Chairman of the Department of Architecture and Design (1950-8) Josef Albers (1888-1976) - Homage to the Square: Soft Spoken (1969), Metropolitan Museum of Art Cubism and Abstract Art, Moma, New York, 1936 Fantastic Art, Dada, Surrealism, MoMA , New York 1936 Philip Guston, Murale New York’s Art Fair, 1939 Art of this century gallery, Peggy Guggenheim, New York , 1942 The Irascibles in a picture by Nina Leen for Life magazine, 1950 Jackson Pollock in the act of painting (1950) Photographed by Hans Namuth. ABSTRACT EXPRESSIONISM ACTION PAINTING Jackson Pollock, Number 31, 1950 MOMA, N.Y. ABSTRACT EXPRESSIONISM ACTION PAINTING FRANZ KLINE ABSTRACT EXPRESSIONISM ACTION PAINTING William De Kooning Woman II, 1952 ABSTRACT EXPRESSIONISM COLOR FIELD Ninfee, 1918 Monet al MOMA, N.Y. ABSTRACT EXPRESSIONISM COLOR FIELD MARK ROTHKO No. 61 (Rust and Blue), 1953, 115 cm × 92 cm Museum of Contemporary Art, Los Angeles ABSTRACT EXPRESSIONISM COLOR FIELD BARNETT NEWMAN Vir Heroicus Sublimis, 1950 Barnett Newman and unidentified woman standing in front of Cathedra (1951) in his Front Caspar David Friedrich, Viandante sul mare di nebbia, 1818. ABSTRACT EXPRESSIONISM COLOR FIELD Barnett Newman’s Stations of the Cross, 14 panels of abstract art retelling Christ’s Passion,1958-66, Washington D.C., National Gallery.

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The Pennsylvania State University the Graduate School College Of
The Pennsylvania State University The Graduate School College of Arts and Architecture CUT AND PASTE ABSTRACTION: POLITICS, FORM, AND IDENTITY IN ABSTRACT EXPRESSIONIST COLLAGE A Dissertation in Art History by Daniel Louis Haxall © 2009 Daniel Louis Haxall Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2009 The dissertation of Daniel Haxall has been reviewed and approved* by the following: Sarah K. Rich Associate Professor of Art History Dissertation Advisor Chair of Committee Leo G. Mazow Curator of American Art, Palmer Museum of Art Affiliate Associate Professor of Art History Joyce Henri Robinson Curator, Palmer Museum of Art Affiliate Associate Professor of Art History Adam Rome Associate Professor of History Craig Zabel Associate Professor of Art History Head of the Department of Art History * Signatures are on file in the Graduate School ii ABSTRACT In 1943, Peggy Guggenheim‘s Art of This Century gallery staged the first large-scale exhibition of collage in the United States. This show was notable for acquainting the New York School with the medium as its artists would go on to embrace collage, creating objects that ranged from small compositions of handmade paper to mural-sized works of torn and reassembled canvas. Despite the significance of this development, art historians consistently overlook collage during the era of Abstract Expressionism. This project examines four artists who based significant portions of their oeuvre on papier collé during this period (i.e. the late 1940s and early 1950s): Lee Krasner, Robert Motherwell, Anne Ryan, and Esteban Vicente. Working primarily with fine art materials in an abstract manner, these artists challenged many of the characteristics that supposedly typified collage: its appropriative tactics, disjointed aesthetics, and abandonment of ―high‖ culture.
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Ben Heller, Pioneering Collector of Abstract Expressionism: ‘There’S Nobody Else in That League’
Est. 1902 home • ar tnews • news Ben Heller, Pioneering Collector of Abstract Expressionism: ‘There’s Nobody Else in That League’ BY MAXIMILÍANO DURÓN March 3, 2021 11:00am Jackson Pollock paintings are returned to Ben Heller's Central Park West apartment in New York in April 1959. MUSEUM OF MODERN ART, NEW YORK/LICENSED BY SCALA/ART RESOURCE, NEW YORK Ben Heller (https://www.artnews.com/t/ben-heller/), who died in 2019, amassed a legendary collection of Abstract Expressionism, supporting artists like Jackson Pollock, Mark Rothko, and others at a time when few else would. But before he dispersed his works to some of the world’s top museums, in particular the Museum of Modern Art (https://www.artnews.com/t/museum-of-modern-art/) in New York, he kept them in his Central Park West apartment. Thousands of visitors made the pilgrimage each year to his home to see masterpieces by the likes of Pollock, Rothko, Franz Kline, and Barnett Newman, with Rothko even referring to Heller’s apartment as “the Frick of the West Side.” When he began seriously collecting Abstract Expressionism during the ’50s, museums like MoMA largely ignored the movement. Heller rushed in headlong. “He wasn’t someone to say, ‘Let me take a gamble on this small picture so that I don’t really commit myself.’ He committed himself a thousand percent, which is what he believed the artists were doing,” Ann Temkin, chief curator of painting and sculpture at MoMA, said in an interview. Though Heller was never formally a board member at MoMA—“I was neither WASP-y enough nor wealthy enough,” he once recalled—he transformed the museum, all the while maintaining close relationships with artists and curators in its circle.
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Surface Work
Surface Work Private View 6 – 8pm, Wednesday 11 April 2018 11 April – 19 May 2018 Victoria Miro, Wharf Road, London N1 7RW 11 April – 16 June 2018 Victoria Miro Mayfair, 14 St George Street, London W1S 1FE Image: Adriana Varejão, Azulejão (Moon), 2018 Oil and plaster on canvas, 180 x 180cm. Photograph: Jaime Acioli © the artist, courtesy Victoria Miro, London / Venice Taking place across Victoria Miro’s London galleries, this international, cross-generational exhibition is a celebration of women artists who have shaped and transformed, and continue to influence and expand, the language and definition of abstract painting. More than 50 artists from North and South America, Europe, the Middle East and Asia are represented. The earliest work, an ink on paper work by the Russian Constructivist Liubov Popova, was completed in 1918. The most recent, by contemporary artists including Adriana Varejão, Svenja Deininger and Elizabeth Neel, have been made especially for the exhibition. A number of the artists in the exhibition were born in the final decades of the nineteenth century, while the youngest, Beirut-based Dala Nasser, was born in 1990. Work from every decade between 1918 and 2018 is featured. Surface Work takes its title from a quote by the Abstract Expressionist painter Joan Mitchell, who said: ‘Abstract is not a style. I simply want to make a surface work.’ The exhibition reflects the ways in which women have been at the heart of abstract art’s development over the past century, from those who propelled the language of abstraction forward, often with little recognition, to those who have built upon the legacy of earlier generations, using abstraction to open new paths to optical, emotional, cultural, and even political expression.
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Richard Pousette-Dart, the Forgotten Man of Abstract Expressionism
ALL SECTIONS (https://www.telegraph.co.uk/) Culture Art More › Culture › Art › Artists Art's quiet American: Richard Pousette-Dart, the forgotten man of abstract expressionism Richard Richard Pousette-Dart's Within the Room (1942) CREDIT: ROBERT GERHARDT AND DENIS Y. SU By Alastair Sooke, CRITIC AT LARGE Follow 11 NOVEMBER 2018 • 8:00AM Home My Feed Saved n 1951, Life magazine published a photograph of 14 men – and one woman – in a studio, Istaring solemnly at the camera. They were, as the headline put it, the “Irascibles”: the principal players in abstract expressionism, united in their anger about a recent survey of contemporary painting at the Metropolitan Museum of Art in New York, which they felt was too reactionary. There they all are, the big beasts of 20th-century American art: Mark Rothko, smoking on a stool in the front row; slick-haired Willem de Kooning, glaring from the back; and at the centre, the eye of this artistic storm, Jackson Pollock, hunched in a chalk-stripe suit. But who is the ﬁgure standing at the far left? Wearing a dark shirt and tie and a baggy, double-breasted jacket, he looks like a movie mobster. In fact, he was a brilliant painter and now the subject of an exhibition at Kettle’s Yard in Cambridge, the ﬁrst devoted to him in this country. His name was Richard Pousette-Dart (1916-92), and he is the forgotten man of abstract expressionism. “He was a deeply private, shy, and extremely peaceful person,” says his 71-year-old daughter, Joanna, speaking by phone from New York.
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A Finding Aid to the Theodoros Stamos Papers, Circa 1922-2008, in the Archives of American Art
A Finding Aid to the Theodoros Stamos papers, circa 1922-2008, in the Archives of American Art Cynthia S. Brenwall October 3, 2012 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 3 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, circa 1922-2006..................................................... 5 Series 2: Financial Records, 1979-circa 1990's....................................................... 6 Series 3: Correspondence, circa 1940s-1997.......................................................... 7 Series 4: Business and Legal Records, 1974-2008................................................
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HEDDA STERNE by Joan Simon | February 2007
HEDDA STERNE by Joan Simon | February 2007 HEDDA STERNE, UNTITLED, 1983. OIL AND PASTEL ON CANVAS Like many others, I have been curious about Hedda Sterne, the lone woman in the hat standing in the last row of the formally staged photograph of 15 New York School artists who became known as "The Irascibles" when this image was published in Life magazine on Jan. 15, 1951. Now, a traveling exhibition, "Uninterrupted Flux: Hedda Sterne," organized for the Krannert Art Museum by Sarah L. Eckhardt, together with its accompanying catalogue, offers a detailed look at the artist's long and varied career. Initially identified with the Surrealists, then the Abstract Expressionists, Sterne followed her own imperatives, changing subjects and techniques and moving wherever her ideas and observations led her. In the decade between arriving in the U.S. in 1941 until the photograph was taken, as Eckhardt writes: Sterne actively engaged in the artistic dialogue in New York. Sterne's work had been featured in four solo exhibitions (each organized by Betty Parsons) and numerous important group shows, including five at Peggy Guggenheim's Art of This Century, one at Sidney Janis Gallery, two Whitney Annuals, and three Pennsylvania Academy of Fine Art Annuals. In the subsequent decade, Sterne had nine more solo shows and participated in more than forty group exhibitions At the Betty Parsons Gallery and elsewhere, Sterne's art hung alongside that of Jackson Pollock, Willem de Kooning, Barnett Newman, Mark Rothko, and Theodore Stamos. Sterne's abstractions were noted as examples of "advanced" or "radical" art by Clement Greenberg in a 1947 article in the Nation.
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A Finding Aid to the Hedda Sterne Papers in the Archives of American Art
A Finding Aid to the Hedda Sterne Papers in the Archives of American Art Judy Ng Processing of this collection was funded by the Terra Foundation for American Art. Digitization of this collection was funded by the Hedda Sterne Foundation. 2013 October 10 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Biographical Materials, 1941-1970........................................................... 4 Series 2: Correspondence, circa 1943-1965............................................................ 5 Series 3: Writings, circa 1945-1965........................................................................
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American Art in the 20Th Century American Art in the 20Th Century
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The Contemporary Sublime and the American Landscape
Wayne State University Wayne State University Theses 1-1-2018 The Contemporary Sublime And The American Landscape Bernadette Miller Wayne State University, [email protected] Follow this and additional works at: https://digitalcommons.wayne.edu/oa_theses Part of the Fine Arts Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Miller, Bernadette, "The Contemporary Sublime And The American Landscape" (2018). Wayne State University Theses. 713. https://digitalcommons.wayne.edu/oa_theses/713 This Open Access Thesis is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Theses by an authorized administrator of DigitalCommons@WayneState. THE CONTEMPORARY SUBLIME AND THE AMERICAN LANDSCAPE by BERNADETTE MILLER THESIS Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of MASTER OF ARTS 2018 MAJOR: ART HISTORY Approved By: Advisor Date © COPYRIGHT BY BERNADETTE MILLER 2018 All Rights Reserved TABLE OF CONTENTS List of Illustrations ......................................................................................................................... iii Introduction ......................................................................................................................................1 Chapter 1: American Romantic Landscapes and Kant ....................................................................8 Chapter 2: Sublimity
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The Armory Show - 1913
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A Finding Aid to the James Brooks and Charlotte Park Papers, 1909-2010, Bulk 1930-2010, in the Archives of American Art
A Finding Aid to the James Brooks and Charlotte Park Papers, 1909-2010, bulk 1930-2010, in the Archives of American Art Catherine S. Gaines 2015 May 14 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Arrangement..................................................................................................................... 4 Names and Subjects ...................................................................................................... 5 Container Listing ............................................................................................................. 6 Series 1: Biographical Materials, 1924-1995........................................................... 6 Series 2: Correspondence, 1928-1990s.................................................................. 8 Series 3: Interviews, 1965-1990............................................................................... 9 Series 4: Writings,
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CAMILLE COTTRELL The Mainstreaming of Modern Art in America (Under the direction of WILLIAM T. SQUIRES) This interdisciplinary research project investigates the individual and collective efforts of a four-pronged advocacy coalition which promoted Modernism in America between 1930 and 1950. The study documents the activities of the commercial art dealers, the patrons and collectors, the museums and the educators who mainstreamed modern art into the cultural psyche of the United States. Through their interactions and collective power, they were instrumental in the grafting of fledgling American art sensibilities to vanguard European practices, the establishment of valid educational mechanisms to promote an appreciation of Modernism, the recognition of New York as the international capital of art and culture, and the formation of aesthetic theories which were uniquely representational of America. Through the analysis of unpublished archival material, journals, memoirs, artists’ statements, relevant critical writings and educational publications, the individual and concomitant activities of these advocacy groups are examined. The research documents the congruent exhibitions, theoretical discussions, and didactic programs devoted to Modernism and draws correlations between the modern art movement and the catalytic shifts in educational practices. Findings from the research suggest the conscious formation of a cultural coalition which proselytized modern art, created a system of patronage for the art and disseminated its philosophical and iconographical principles throughout the United States. The research indicates that it was the unfaltering efforts of a powerful art collective which included the dealers, the patrons, the museums and the educational systems, who used their aegis to transform the aesthetic identity of the United States and poise America to become the new center of the artistic world.
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